Besides these works for the Misericordia, Francia executed several altar-pieces for other churches in Bologna—about 1500. The “Madonna and Saints,” now at St. Petersburg, was originally painted for San Lorenzo, and a similar subject resembling the Bentivoglio altar-piece is still to be seen in San Martino of Bologna. With these larger subjects we may mention the charming group of boy-angels playing on musical instruments round an old picture of the Madonna in San Vitale, although their Raphaelesque grace would seem to indicate a later date of production. The Franciscan church of the Annunziata, outside the gate of San Mammolo, also possessed two pictures, a “Madonna” and “Annunciation,” which have been removed to the Gallery since that sanctuary has been used as a barrack by the Italian Government. Both have been much damaged, but the “Annunciation,” in spite of its bad state of preservation and unpleasant rawness of colour, is singularly interesting. All three persons of the Trinity assist at the celebration of the great mystery: the Father looks down from heaven, the dove is seen descending to rest on the brows of her who was blessed among women, and a vision of the Child appears above in glory. The Angel of the Annunciation hovers in mid-air, and on earth the lowly Virgin kneels with clasped hands and bent head, her whole soul going forth in unutterable love and yearning as she listens to his message. On either side, a little below this central figure, stands a noble group of saints reverently pondering over the mystery before our eyes; and foremost among them we recognise Bernardino, the favourite saint of Bologna, whose memory was still fresh in the hearts of the people, holding an open book, on the pages of which, the sacred monogram and his motto, _In Nomine Gesu_, are inscribed. The birds sing in the branches beside him, and a lizard crawls along the ground bearing a scroll, on which are the arms of the Franciscans, a skull and cross-bones, the date MCCCCC., and _Francia Aurifex pinxit_, a form of signature which the goldsmith painter retained to the end of his life. [Illustration] CHAPTER III. THE FRIENDSHIP AND INFLUENCE OF RAPHAEL, 1500-1506. Ten or twelve years had now elapsed since Francia had devoted himself to painting, and in this comparatively short space of time he had produced many important works and obtained a wide reputation. More than this, his pictures during this period bear signs of a steady progress both in technical skill and power of expression; the old hardness and want of harmony had in a great measure disappeared, and his colouring had gained that force and richness which give him so high a place among oil-painters.